p. xix “I engage largely, but not exclusively, with dramatic Western art music of the later nineteenth century and Hollywood film music post-1970.”
- Introduction: the leitmotif problem
Part I: Musical Themes
- Motive, phrase, melody and theme
- Thematic development, thematic identity: musical themes and the prototype model
Part II: Musical Association
- The phenomenon of musical association
- Piece specifics, cultural generics, and associative layering
- From Nibelheim to Hollywood: the associativity of harmonic progression
Part III: Leitmotifs in context
- The paradigm of Wagner’s Ring
- Leitmotif in Western art music outside The Ring
- The modern-day leitmotif: associative themes in contemporary film music
[rnotes]
- p. xix Twofold importance of the leitmotif:
- as a theme – a component of musical structure
- as an associative entity – a component of musical meaning
[/rnotes]
Topics covered by this book
- The Lord of the Rings: The Return of the King (film) • p298 • Example 9.19 "Into the West" from Howard Shore's score
- The Lord of the Rings (film) • p297 • Example 9.17 Themes from Howard Shore's scores that feature #4 (a) "Sorrow of the Elves" (b) "Dwarves of Yore" (c) "Lothlorien" (d) "Anduril, Flame of the West"
- Episode III – Revenge of the Sith (film) • p294 • Example 9.16 "Doomed Love" thematic prototype from John Williams's score
- Raiders of the Lost Ark (film) • p290 • First phrase of "Adventure" theme prototype from John Williams's score
- The Lord of the Rings: The Fellowship of the Ring (film) • p288 • Example 9.11: Thematic Complex in the Fellowship of the Ring: (a) "Forces of Darkness" motive (b) "Urgency" motive (c) "Running motive" (d) "Battle" motive; Example 9.18 The "Shire" theme
- Indiana Jones and the Last Crusade (film) • p287 • "Grail" theme prototype from John Williams's score
- Indiana Jones and the Temple of Doom (film) • p287 • Prototypic statement of "Will of the Hindu Gods" from John Williams's score
- Harry Potter and the Prisoner of Azkaban (film) • p286 • Example 9.7 "Harry's Longing for Familial Love" from John Williams's score: (a) Prototypic statement (b) Change of mode/contextual reinterpretation; Example 9.14 Thematic evolution in score (a) "Mischief" (b) "Weasleys" (c) "The Marauders' Map"
- Star Trek II: The Wrath of Khan (film) • p285 • Example 9.6: Prototypic major-mode title theme from James Horner's Star Trek films
- Harry Potter and the Philosopher’s Stone (film) • p281 • Example 9.3: First phrase of the "Harry Potter" theme from John William's score, Example 9.4: The "Voldemort" theme prototype
- Lawrence of Arabia (film) • p272 • Example 9.1: The central theme in Maurice Jarre's monothematic score
- Superman (film) • p292 • Example 9.15 Thematic evolution in John Williams's score (a) Main theme (b) "Parting"
- Episode IV – A New Hope (film) • p285 • Example 9.5: Prototypic major-mode version of the "Heroism" main-title theme from John Williams's scores, with brief discussion of differing bass lines and its 'darkening' into the minor mode; Example 9.8: Harmonic corruption of the "Heroism" theme; Example 9.12: "Leia" theme prototype
- Der Ring des Nibelungen (drama)
- Das Rheingold (drama) • p264 • Musical 'Mickey Mousing' in scene 1; "prelude-as-drama is precursor to the use of title-music-as-drama in film'"; recitative type 'underscoring' in The Ring where music is less compelling = Rossini's "wonderful moments and dreadful quarters of an hour"
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